The murmurs about World's End Press have steadily increased in volume over just a few years. Their exuberant live shows complement their addictive brand of dance music, which features lashings of disco and synth-pop against a solid house backbeat.

Support act Movement – a Sydney trio purveying soulful vocals, moody synths and smooth beats – leaves the crowd buzzing. When World's End Press lunge into their set, their enthusiasm is so infectious that the dancefloor is soon pulsating. The new album material slides easily into the mix, with That Was a Loving House raising the tempo early.

The single Reformation Age, which has a stripped-back elegance on the album, expands to a frenzy when played live, with the elastic-limbed bassist, Sashi Dharann, rocking back and forth like a perpetual-motion drinking bird in overdrive. Frontman John Parkinson might resemble a young Mick Hucknall, but his gravelly voice is all his own, whether it's dipping below the bassline or throwing punkish attitude at To Send Our Love, which forms the climax of the set.

The band's raucous style results in an unexpected casualty, however, when a power failure wipes out half their sound. Parkinson keeps up an entertaining patter as they attempt to fix it, joking that they may need to attempt an acoustic version of their disco tunes. They're soon forced to accept defeat and leave the stage, but they've generated such goodwill that no one's quite prepared to go home. The crowd separates into clumps, finishing beers and squinting in the awkward glare of the house lights, and this reluctance to leave is rewarded when the band reappears to play two final numbers. The anthemic Drag me Home is a fitting end, and the intensity that World's End Press pour into every note leaves the audience feeling that even their interrupted set has been a good night out.